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Hamburg-based sludge metal act High Fighter are
gearing up for release of their first live album ever.
 Soon after their sophomore album, the critically
acclaimed ‘Champain’ in 2019, the band were
forced to stop promoting the record live due to
obvious reasons, when they got invited by German
tv and iconic live format WDR Rockpalast to be
part of a special Offstage series.
 Filmed in August 2020 at an industrial, breathtaking setting of the Landschaftspark DuisburgNord, Germany, High Fighter’s only show since the
beginning of the pandemic, without a crowd, was
aired on national television.
 This live album was recorded by Dominik Schenke
with a pre-mix by Christoph Scheidel at 79 Sound
Studio, while Jan Oberg (Earth Ship / Grin) added
the final mix and mastering at Hidden Planet
Studio in Berlin.
 With their vibrant blend of sludge metal, doom and
stoner blues, High Fighter‘s ‘Live At WDR
Rockpalast’ features a heavy set and collection of
songs taken from the band’s first three records: the
rough and raw 2014-debut EP ‘The Goat Ritual’,
their first full-length album ‘Scars & Crosses’
(2016, Svart Records) and the latest, fast-paced
and brutal sludge juggernaut ‘Champain’, released
in 2019, also on Argonauta Records.
 White coloured vinyl.

On his aptly-titled Mascot Records’ debut, What Happens Next, roots singer-songwriter and guitarist Davy Knowles boldly steps forward with timeless and cohesive songwriting; sleek modern production; and a lyrical, play-for-the-song guitar approach informed from soul, folk, rock, and blues. The 12-song album is just as influenced by The Black Keys, Fantastic Negrito, Gary Clark Jr., as it is Muddy Waters, Junior Kimbrough, and R.L. Burnside. It is a cohesive body of work rather than a collection of disparate songs. On What Happens Next, Knowles’s poetic songwriting, and his soulfully emotive singing steal the show. The 12-song body of work offers forth a peaks-and-valleys album experience winding through brawny riffs, jazzy blues balladry, and vintage soul before concluding with one of Knowles’s most personal songs released to date. Throughout it all, his guitar playing is brilliantly understated, his rhythm work is deft and dynamic—beefy on the rockers, and subtly supportive on the slower tunes—and his leads are economical but feature juicy blues bends and thick as molasses lead guitar tones."What Happens Next" is released on CD and digitally on October 22, 2021 and on vinyl on December 3, 2021 via Mascot Label Group/Provogue Records.

"The Plot In You continue to move forward on their fifth full-length album and second for Fearless Records, Swan Song. The Ohio quartet— Landon Tewers vocals, Josh Childress [guitar], Ethan Yoder [bass], and Michael Cooper [drums]—stare down years of negativity, soured friendships, disappointment, and mistakes and flush it all away in the wake of hammering distortion, towering melodies, cinematic production, and unapologetically cathartic lyrics. Ascending to the apex of an eight-year grind, the band reached critical mass on 2018’s DISPOSE. The standout “FEEL NOTHING” exploded with 31.4 million Spotify streams, while the project eclipsed 60.7 million streams on the platform. Billboard raved, “DISPOSE is the band’s most polished and cohesive work to date,” and Alternative Press noted, “DISPOSE makes it clear that TPIY challenge both the listeners and themselves more and more with each release.” Grading the album “9.0-out-of-10,” Rock Sound predicted it “should finally – and deservedly – make The Plot In You a name that everyone knows.” They supported the record by hitting the road with Underoath, The Amity Affliction, Like Moths To Flames, Sum 41, and more. After racking up over 100 million streams and receiving praise from Billboard, Rock Sound, Alternative Press, and more, the group wave off darkness with unassuming confidence and clarity on Swan Song ignited by the single “Face Me.” "

Double BLACK Vinyl, Gatefold sleeve, DL card. René Laloux’s celebrated 1973 sci-fi animation ‘La Planète Sauvage (Fantastic Planet)’, is overhauled with a re-imagined soundtrack by electronic modernists Stealing Sheep and legendary sound innovators The Radiophonic Workshop. This exclusive release is part of Fire Records’ re-imagined score series. “No institution has had a greater impact on the development of electronic music than the BBC Radiophonic Workshop.” The Vinyl Factory. It’s a real pre-Avatar conundrum that Stealing Sheep, with the help of Bob Earland, Dick Mills and Roger Limb from the Radiophonic Workshop, unravel. Creating an ethereal excursion that’s narrated by Roger Limb; like a futuristic Martin Denny, or Dr Who gone ambient techno, with a hint of Forbidden Planet 50 years on. It’s an analogue swirl set in an off-world paradise; a field recording from the future. This is a creative, generation-spanning, union brought together to score this unique cult film. A must for fans of psyche electronica and Stealing Sheep’s formidable ‘Big Wows’ album. “Stealing Sheep devour a broad range of styles, incorporating everything from the dark dance-pop of Grace Jones to the experimentations of Radiophonic Workshop pioneer Delia Derbyshire and John Carpenter soundtracks.” The Guardian // ‘La Planète Sauvage’ is a thing of ambient beauty punctuated with electronic earworms that switches from intensely ominous to otherworldly dream like moments.

Pressing Info: 180g black vinyl, standard sleeve, printed inner sleeve. Arriving right off the back of their second album 'El Refugio' which was released in November 2021 via Fuzz Club Records, Mexican post-punk/krautrock group Sei Still are back with a 'Fuzz Club Session' LP that's due out January 21st 2022. Having upped sticks from Mexico City to Berlin, Sei Still's Fuzz Club Session was recorded live at Berlin's Monoton Studio back in October 2020 and is comprised of five tracks from the newly-released 'El Refugio' LP: 'Esperando' (later titled 'Saldados Caidos' on 'El Refugio'), 'Hombre Animal', 'Las Puertas De La Noche', 'Me Persigue' and 'Se Asoma el Sol' (later 'Solsticio'). 'El Refugio' and the session LP set to be released in support capture a new era for Sei Still. The expansive Krautrock jams heard on their 2020 self-titled debut have evolved into a dark, motorik post-punk sound that owes far more to 70s punk, goth-rock and Spanish New Wave than any kosmische travellers. The session is released on 180g black or white vinyl with a printed inner sleeve and is accompanied by a series of videos recorded during the session.

On August 27th 2021 The Third Sound released their fifth album ‘First Light’ on Fuzz Club Records and it is now being given a second pressing after selling out upon release the first time aorund. Dealing in a hypnotic blend of neo-psychedelia, post-punk and new wave, The Third Sound is a Berlin-based band led by the Icelandic musician Hákon Aðalsteinsson, who is the guitarist in Brian Jonestown Massacre and formerly played in the cult rock’n’roll outfit Singapore Sling. A mainstay of the European psych underground in his own right, not just through his collaborations with the likes of Anton Newcombe and Tess Parks, The Third Sound has been Hakon’s primary solo endeavor since the release of his self-titled debut on Newcombe’s A Recordings a decade ago. Arriving following 2018’s ‘All Tomorrow’s Shadows’ LP, ‘First Light’ marks an evolution into a brighter and at times uplifting sound. Marrying moments of light and dark, the result is The Third Sound’s most dynamic full-length to date. Talking about the album, Hakon said: “This album is definitely less gloomy than the previous one, although some ghosts from the past are lurking in the background. We always try to make something new on each album and never make the same album over again, but this feels like an even bigger change than usual, especially regarding the mood. Something new is beginning although the past is not forgotten. I think the title, First Light, describes the overall feel of the record pretty well.” ‘First Light’ is the fifth full-length from The Third Sound and arrives off the back of 2018’s ‘All Tomorrow’s Shadows’, 2016’s ‘Gospels of Degeneration’, 2013’s ‘The Third Sound of Destruction and Creation’ and their 2011 self-titled debut. With Hakon Aðalsteinsson leading the group on vocals and guitar, the rest of the band is currently comprised of Robin Hughes (Guitar / Organ), Fred Sunesen (Drums) and Andreas Miranda (Bass). With a number of European tours in tow, the band have previously shared the stage with the likes of the Brian Jonestown Massacre, The Warlocks, Singapore Sling, Crocodiles, Clinic, Tess Parks and more.

Big Crown Records is proud to present Piece of Me, the sophomore full length offering from Lady Wray. This is something of a homecoming for Nicole. Where her 2016 solo debut Queen Alone leaned more towards Soul and R&B with tinges of hip-hop, this record changes the mixture. It's still R&B with the textures of analog Soul, but there is a heavy Hip Hop influence that brings the sum of Nicole's career together in a new sound that will de ne her future. Boom-bap drums and chunky bass lines are front-and-center creating a perfect head-nodding backdrop for Lady Wray to take on the good, the bad, the difficult, and the joyful on her most personal collection of songs to date. The title track, "Piece of Me," which has already become a classic since it's 2019 release is about the people in your life who need more than you are willing to give. This tune and the B side of the 7" "Come On In" were the first songs put to tape for this album and they were recorded with Nicole sitting in a chair 8 months pregnant with her daughter. Her voice is so powerful, so raw, so thorough on these initial songs - it's wild to think that they were recorded this way. And even wilder to know that she knocked them all out in one take. Longtime collaborator and producer Leon Michels keeps the musical backing restrained and expertly executed, setting up Lady Wray for the full spotlight and setting the tone for the rest of the album. While the upbeat energies of "Under The Sun" and "Through It All" are sure to become hits that reconnect Lady Wray with her 90s R&B fanbase, "Where Were You" offers a behind the scenes look at what those days of stardom in her youth were really like. Nicole takes on the racial tension in America with her poetic and powerful "Beauty In The Fire" and leans heavy into her faith and church upbringing on the showstopper, "Thank You". She gushes about the profound love she's come to know for her daughter on "Melody" and celebrates life's ups and downs on "Joy & Pain". In 2021 it is rare to hear a varied yet cohesive album with no "skippers", but that is what you have here in spades. The tried and true chemistry between Lady Wray and Leon Michels has undeniably found a higher level and this album stands as a testament to conviction and dedication for all of us to enjoy and be inspired by.

*Repress*

Brave Wave is bringing Koei Tecmo Games' classic Ninja Gaiden soundtracks to Vinyl, CD, Bandcamp, iTunes and streaming services! For the first time ever, the soundtracks for Ninja Gaiden on NES and Arcade and Ninja Gaiden II: The Dark Sword of Chaos are available exactly as intended by the composers originally and true to the original releases. This also marks the first time ever Ninja Gaiden III: The Ancient Ship of Doom has received an official soundtrack release in any format and in any territory. Vol. 2 contains the complete soundtracks for Ninja Gaiden II: The Dark Sword of Chaos and Ninja Gaiden III: The Ancient Sword of Doom. There are 29 tracks for Ninja Gaiden II and 30 tracks for Ninja Gaiden III. They were composed by Ryuichi Nitta, Mayuko Okamura, Rika Shigeno and Kaori Nakabai.

There is nothing quite like an evening under the rhythmic spell of the legendary David Morales. Stepping on the dancefloor while he's behind the decks requires full trust and surrender. You agree to hand the reins of your mind, body, and spirit to his intuition and ability to guide you to where you need to be at all times. It will occasionally be cathartic and intense. It will often make the hairs on your body stand on end, and make you sweat more than you ever have before. The endorphin release will be powerful. You will feel like you can touch joy and euphoria it in the air around you. As he gently brings you back down to reality, you will feel renewed and ready for anything life brings your way. This is more than a night of dancing. This is an experience at the hands of a magical maestro of music. How is this possible from a night on the dancefloor? Well, it begins with the brilliant mind of an artist at the peak of his creative power, imbued with the empathy necessary to connect with what has become a global legion of fans. "If there is any secret, it's really simple: I love what I do with all of my heart," Morales says. "I'm a DJ first. I thrive on human interaction. I am always adjusting my sets based on what the people in the room need. Each night, we form an emotional connection that inspires the music as it comes."

For Morales, "working in the studio is important, but it exists as a way of supporting the DJing experience. It's all to inform how it will work on the dancefloor."

To that end, you're reading these words as you dive into a new collection of Morales classics. Ever the collaborator, he has enlisted the input of a wide range of voices and talent. There is the diva power of fellow legend Ultra Nate, who brings her signature sass to "I Can Dream," while Michele Perera's explosive chemistry with David is all over the inspiring "Life is a Song" and "Never Give Up", as well as the impassioned "Addicted."

Morales reminds the listener of his ever-evolving musical scope in collaborations with blondewearingblack ("What Can I Do"), Lea Lorien ("Never Looking Back"), and Blakkat ("Can't Get Enough"). There's the clubland supergroup of David with Mr. V, Scotty P. and DJ Rae on "The Feels." Rounding out the set is a reunion with longtime muses Elle Cato ("I Feel Love") and British soul icon Joe Roberts ("Easy"). Just be sure to listen closely, because there's bound to be a surprise tucked between these grooves to tickle your ears and move your body.

The beauty of this sparkling new foray into electronic music is the heightened intimacy between Morales and the music. What you are hearing here is almost exclusively from the man's own fingertips. "The technology has evolved in the most extraordinary and liberating ways," he says, adding that he is now able to be far more directly hands-on during the building of each track. "Back in the '90s, I had to have more people involved, With the changes and growth in technology, I can now do it, myself. I don't even have to be in the studio anymore. It's smart, financially, but it's also way more fun and creative."

David adds, "I don't have to wait to manifest an idea anymore. I can just build my ideas as they come to me." In fact, he reveals that many of these new tracks were born in unique places, like planes, cars, his bedroom, and a host of other settings. "Music is always spinning around my mind. I no longer worry about losing an idea."

Surviving the highs and lows of an ever-changing world has also brought Morales back to the basic essentials of life and music. "The pandemic has brought things full circle for me," he says. "I love what I do and I still have the passion of a kid who is just getting started"

Yet, we know that Morales has been in the game for longer than a minute. He's a Grammy award-winning producer, remixer, and songwriter. He has lent his skill to countless of records by icons that include Mariah Carey, Madonna, Whitney Houston, Michael Jackson, Aretha Franklin, Donna Summer, Seal, and Jamiroquai. As a turntable artist originally from New York City, he earned his bones of credibility back in the '80s and '90s in clubs like the Paradise Garage, Red Zone, Tunnel, and Club USA. He initiated the concept of DJs touring beyond their hometowns with countless, wildly successful treks that have taken him the farthest-reaching corners of the world. As electronic music thrives on pop radium, David tops the list of every young artist and DJ as a primary influence.

Even with such a staggering legacy, Morales never looks over his shoulder.

"That is how you stumble and fall," he says. "If you get all caught up in the past, you're going to lose sight of what is right in front of you. You lose the excitement of discovery. That is what gets me off; taking what I know and combining it with what I don't know as I learn it. There is nothing better than experiencing how it all comes together. It's different every time."

And that is the ultimate secret to that extraordinary spell that David Morales casts over us all every single time.

It’s been ten years since Sadie Dupuis recorded the first Speedy Ortiz songs, a solo experiment that quickly became her full-time band. Since then, Speedy has produced an expansive and critically revered discography, toured worldwide, and inspired next generations of bands with inventive songwriting and advocacy to better the music industry. But in 2011, the younger Dupuis was struggling through concurrent traumas: heartbreak from first love, leaving her hometown of New York for Massachusetts, and the grief of losing several young friends. Speedy’s first songs glowed within the contrast of noisiness and intimacy, raw sonic elements that came with closely processing vulnerabilities and Dupuis’ insistence on performing and recording each instrument alone. As the new project fielded show offers from favorite show spaces like Death By Audio and Shea Stadium, these early tracks became the springboard for the playfully melodic and cleverly distorted style for which Speedy Ortiz as a full band is celebrated. Now, ten years later, Speedy’s first self-released collections will be widely available for the first time and reissued as a double LP The Death of Speedy Ortiz & Cop Kicker…Forever, alongside previously unreleased tracks, reflective liner notes penned by Dupuis, and unearthed photos and journal scans from that era.

The tracks on The Death of Speedy Ortiz & Cop Kicker…Forever were written after student-created prompts while Dupuis was teaching a songwriting class at the same summer camp where she’d first learned guitar. "Hexxy Sadie” was written in an hour, like the rest of the songs, and on Dupuis’ twenty-third birthday; using explosive riffs and distorted harmonies, she explores her uncertain yearning as a twinless twin. "Frankenweenie" came from the prompt “dog,” and over brooding piano, spry tambourine, and eruptive snare, Dupuis sings from the perspective of a dead childhood pet about forgiveness. “Cutco,” which navigates tricky chord changes with deft guitar passages and ironic deadpan, grins at the bitterness of friendships gone awry. These early songs highlighted Dupuis’ remarkable talent at dissecting specific emotions and moments, analyzing the many ways the pieces fit together, and scrutinizing the places where they don’t.

During the recording process, Dupuis was inspired by the impulsive DIY methods of artists like Elliott Smith and Sparklehorse; a mixing note from September 2011 read, “It's important for the 'concept' of this 'album' that I don't redo anything.” The Death of Speedy Ortiz & Cop Kicker…Forever still holds onto the magic immediacy of lo-fi recordings, but this reissue is helped by the technical know-how gained through Dupuis’ solo production work as Sad13 (Lizzo, Backxwash). Remixing in 2021, Dupuis cleaned up edits on her triple-tracked drums, made space for instrumental flourishes performed on eclectic instruments like cello, banjo and timpani, and rewired digital sounds to warm up the layers of intersecting guitars. Co-mixer Justin Pizzoferrato (Dinosaur Jr., Sebadoh), who worked with Speedy on Sports EP, Major Arcana, and Real Hair, further clarified the mix with analog compressors, and mastering engineer Emily Lazar (Liz Phair, HAIM) added a glossy sheen to the stratified bombast.

As Dupuis’ cult-beloved early material finally re-enters the world in a substantive way, The Death of Speedy Ortiz & Cop Kicker…Forever is a seamless fit to the Speedy Ortiz discography that succeeded it, and evidence that Speedy’s biting lyrics, intricate compositions, and daring performances have been inherent to the project since its outset.

UMC are proud to present the release of What’s Going On: 50th Anniversary 2LP Edition on January 28th, 2022. This premium vinyl release features direct-to-analog mastering from the original primary album tape reels by acclaimed engineer Kevin Gray, one of the first times this has been done since 1971, offering an undeniably authentic listening experience. What’s Going On: 50th Anniversary 2LP Edition bonus LP opens up the album’s writing and production palette. Featured are four rare cuts making their vinyl debut, highlighted by a previously unreleased “stripped” version of the title song, plus all six original mono single mixes and their B-sides, with all of those 7” versions on vinyl for the first time since their original releases. Among them are alternate versions of “God Is Love” and “Flying High (In The Friendly Sky),” the latter issued on 45 as “Sad Tomorrows.” Full track listing below. With two 180gm records, a tip-on heavy stock jacket, original gatefold with complete lyrics, this formidable release also includes printed sleeves with track details, a rare image from the cover sessions, and a brief essay honoring arranger David Van De Pitte. Highlighted is a main essay by acclaimed author and poet Hanif Abdurraqib who was just named one of the 25 recipients of the 2021 MacArthur “genius” grant.

Heir Corpse One is one of the latest projects of
multi-shredder / vocalist Rogga Johansson
(Paganizer, Stygian Dark, Massacre, Blood Gut,
Dead Sun, Megascavenger, Ribspreader,
Putrevore, Revolting).
 For this zombie horror-themed album he teamed
up with some friends from the Swedish death
metal scene: Kjetil Lynghaug (Mordenial,
Paganizer), Peter Svensson (Furnace Moon) and
Marcus Rosenkvist (Assasins Blade, Void Moon).
 ‘Fly The Fiendish Skies’ is a concept story about a
zombie apocalypse that starts after a plane cockpit
crew crashes and dives in a zombie filled swamp.
Expect dirty old school Swedish death metal as
only the Swedes can produce.
 For fans of Unleashed, Grave, Entrails, Bloodbath,
(old) Entombed

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 2, Southern Soul: From Memphis to Muscle Shoals, features covers of Al Green, Percy Sledge, Bobbie Gentry, Ann Peebles, Tony Joe White & more. It is scheduled for a July 9th, 2021 release.

Sarcasm has had a storied career. Originally formed in Sweden in 1987, Sarcasm would release blistering Death Metal throughout the early and mid-90’s. After a short-lived reunion in 1997, they would come back into the fold in 2015 with a new re-designed version of their lineup. Now they return with their new full-length album “Stellar Stream Obscured”. A concept-based album that is a journey. Managing to sound like their old selves, the bands launches a fine assault here featuring plenty of furious melodic rhythms alongside their traditional leanings. Although, they clearly have their ties in being an older Death Metal band, their sound still brings with it the youthful exuberance of newer Death Metal bands. They have this almost blackened style of Death Metal that cuts like a knife. The impressive guitar work is highlighted by the brutal blast beats and vile vocals emanating in every track. A surprising factor to their music is the slowing down of the tempo to offer up a more melodic sound. A lot of times the old school Death Metal bands seem to be stuck in their ways, but Sarcasm has implemented the more melodic sound to their brutal repertoire. One should appreciate the vile black metal styled vocals on the album, as they work so well together with the professional sounding musicianship. Take Black Metal, melodies, and Death Metal and blend it all up then you’ll have “Stellar Stream Obscured”. The music is beautiful, vile, and brutal all in the same. “Stellar Streams Obscured” is a triumphantly diverse Death Metal album that brings a complete and competent sound. Sarcasm deliver on every facet musically.

Following the immense critical acclaim of Siti Muharam's album 'Siti of Unguja', On The Corner release a limited run of 500 transparent vinyl. Crowned Album of the Year 2021 by Songlines, 'Siti of Unguja' was also selected The Guardian's Global Album of the Month, The Wire's No.1 Global Album and included in best albums of the year lists in NPR and The Vinyl Factory.
Siti of Unguja tells the story of pioneering women, of the ‘golden voice’ of Siti Muharam, heiress to the singular legacy of her great grandmother, the mother of taarab, Siti Binti Saad.

On the Corner teases this first taste of a landmark recording that the label embarked upon two years ago on Zanzibar. Siti of Unguja has a transformative atmosphere, brimming with romance, passion and protest.

Zanzibar is an Island archipelago that lies 6 degrees South of the equator and 30 miles off the East African coast out in the Indian Ocean. Known for its spices, traditional Dhow sailing boats and being a mercantile trading capital of Swahili culture.

The modern history of Zanzibar can be animated through the life and legacy of one artist, Siti binti Saad. Born in 1890 in the small fishing village of Fumba, on Unguja (Zanzibar’s largest island), she became the first Zanzibari recording artist and her recordings sold in tens of thousands across the swahili world.

24 Songs. A new project from The Wedding Present. A new 7” single every month throughout 2022. 24 Songs sees David Gedge writing with legendary Sleeper guitarist Jon Stewart for the first time, and a more perfect union could not have been predicted. The first release includes a gorgeous duet featuring David and Louise Wener also from Sleeper on ‘We Should Be Together’, and it’s coupled with a rousing new track called ‘Don’t Give Up Without A Fight’ which combines classic Wedding Present feistiness with a Krautrock finale. The notion of a monthly 7” single is not new to The Wedding Present, but 24 Songs shows us that even classic concepts can be reinvented. The series also continues the band’s association with photographer Jessica McMillan, who has created stunning images and films as a visual accompaniment to the recordings.‘We Should Be Together’ will be available to listen to at The Wedding Present’s official YouTube channel from Tuesday 19 October at 12 noon. Subscription details with an early bird incentive can be found at 24songs.scopitones Individual singles and a collector’s box can be ordered from the same site or via all participating record shops. Explaining 24 Songs, David Gedge said: “In 1991, The Wedding Present were rehearsing in a studio in Yorkshire when we hit upon an idea that immediately thrilled us all. Our bass player Keith Gregory had been a member of the ‘Sub Pop Singles Club’ - a service that allowed subscribers to receive 7”s released by that Seattle label on a monthly basis. Keith wondered if we, as a band, could attempt a similar thing. In that instant, The Wedding Present’s Hit Parade series was born and, during 1992, we managed to release a brand new 7” single each and every month. “The Hit Parade went on to become something of a significant milestone in the history of the band and it’s a project about which I’m often asked. As its thirtieth anniversary approached, I began to wonder if we should celebrate it in some way. A ‘Hit Parade Part 2’ didn’t feel quite right, though. Then, someone said to me: “Other bands have released music in similar ways but there has been nothing like the Hit Parade.” And they were right! A 7” single a month seems, somehow, very ‘Wedding Present’. So, inspired by that little idea from three decades ago, we’ve embarked on this new project, 24 Songs. “Even though The Wedding Present have never been known for taking the easy route, the idea of recording 24 tracks and releasing them in this way could seem daunting to any band. However, I’ve been inspired by the music that has been written since Jon and Melanie joined the group. The thought of celebrating this exciting new line-up with an exciting new series has motivated us all… and I suppose we also didn’t want any of these songs to be hidden away in the middle of an album!”

Netherlands based Jungle don Tommy The Cat debuts on UTTU fresh from dropping bombs alongside Coco Bryce on his long standing Cat In The Bag records. Here he kicks off the first in a series of “Cosmic Connections” focusing on ambient and alien sounding jungle and drum n’ bass.

El Michels Affair follows up the massive success of their full length Yeti Season with The Abominable EP. A collection of unreleased tracks, alternate takes, and instrumentals from the Yeti Season recording sessions. EMA's blending their signature cinematic soul sound with influences from Turkis Funk and the grittiest of Bollywood soundtracks yielded an instant classic The Fader calls "a carnival of dusty funk and soul". The EP starts off with the unreleased gem "Messy Grass" whose synth intro, peppered with distant yeti cries, gives way to a tremendous backing track that Tamer Pinarbasi's Qanun dances over. On "Cham Cham" EMA invites Piya Malik to the microphone again to share her styled storytelling vocals over the instrumental track from Yeti Season's "Perfect Harmony". Where some of the tunes on the EP have vocals added, some of them have them removed letting the band take center stage; "Poison Song", "Uncut Gem", "Smoked", and "Progress" are all instrumental here giving them a wholly different energy than the vocal versions. The EP is being released with two different covers, each one has two paintings from different Ghanaian mobile cinema artists commissioned through Chicago's Deadly Prey Gallery and are interpretations of the original album artwork. One version is paintings by Stoger and Heavy J, who also contributed cover paintings to the Return To The 37th Chamber album. The other version of the cover is two paintings by Teshie and Farkira.

German multi-instrumentalist and producer, The Micronaut has made a name for himself through his richly textured and enthusiastic compositions. His 2016 album, "Forms" has been described as a true melting pot of sounds and it caught the attention of the electronic music scene with its very playful and original amalgamation of rhythms and samples. Last year, The Micronaut released Olympia (Summer Games) - an album that continued to draw on his elaborate production style as well as on the values of camaraderie and solidarity of the Olympic Games. Continuing on this Olympic journey, the German producer now releases the second part to the project, Winter Games, containing a fresh twelve tracks that capture the essence of winter sports. Winter Games is an eclectic ride, but far from chaotic; transitions are fluid, the momentum uninterrupted and the direction cohesive. Behind the music's energetic flow are sophisticated arrangements and quasi-scientific constructions which crush stylistic boundaries and give birth to a new collage-based genre of music. The music is all the more impressive considering that every sound contained therein is crafted by The Micronaut himself, who has been called a one-man-orchestra for exactly that reason. In the EDM-influenced track Bobsleigh, which contains samples from a DJ describing the state of his own profession, The Micronaut seems to be drawing a line between what he's doing, a true Olympic feat in some regards, to a lot of the lazy productions around today. 'He thinks it's cool to just play with an iPod or a USB stick,' we hear a voice say over a hyper-synthetic beat. It's The Micronaut's critical statement on the superficialness that much of dance music has come down to, "Of course there are exceptions, but unfortunately there are only a few," he notes. At times, Summer Games veers towards techno and at others it seems to be inspired by electro-pop. Towards the end of the album, 'Curling' is a refreshing vocal piece filled with warm chord progressions. "Bernhardt's vocals are really touching, they give warmth to the minimalistic structure of the song," says the Micronaut. The track offers a comforting counterpoint to the high-energy feelings of competitiveness present in the rest of the album with lush pulsating synths and a laid-back groove. "Every time, when I wanted to continue working on "Curling" I was afraid of destroying its very fragile initial structure, but in the end, I think it worked," adds the producer.

Hailing from Sydney, Australia, prolific producer Cabu (860K Monthly Listeners and more than 90M cumulative streams on Spotify alone) has come a long way; from his successful remix work – from Joe Hurtz's "Stay Lost" edit (37M Spotify-streams) to Big Wild's "Empty Room" flip (20M Spotify-streams) – to his consistently catchy original productions, Cabu's only getting started. He keeps this momentum alive with the EP "So Far To Go", his first to be released by Ta-ku & Jakarta Records' sublabel 823 Records.

823 is a perfect place for Cabu's bouncy, hypnotic grooves and is a return to form for what "Cabu" represents: a driving force in the pursuit of happiness through sound. It's a well-timed collaboration, as Cabu's fanbase has continuously grown over the past few years through features on Australia's Triple J, DJ Complexion's Future Beats Radio, Soundistyle, The South East Grind, Mutual Friends, ThisSongIsSick, Majestic Casual, Soulection Radio, BBC 1xtra, Pilerats, Maison Kitsune and more. To that end, "So Far To Go" features some of the most talented artists to come out of the Pacific continent, such as Milan Ring (95K monthly Spotify listeners) – coined "Australia's R&B Princess" by Apple Music – Brisbane native hit-maker Young Franco (1M+ monthly Spotify listeners), Kamaliza (123K monthly Spotify listeners), NOÉ, Gabby Nacua, Pastel and of course label-head Ta-ku himself.

1st single, "Process" featuring Ta-ku & Milan Ring was released on November 3rd. Hypnotically bouncy, with heavenly synth pads, crisp percussive elements combined with the ethereal voices of Ta-ku and Milan harmonically push the sonic envelope to make this track an infallible groovy knockout. As Cabu says, "Process" is "the dream-like state in which you take gratitude in your current situation whilst being hopeful in the future." The track provides a perfect taste of these artistic and creative powerhouses. The stunningly beautiful music video – directed by Sydney based Redscope Films and premiered on The Sound You Need – is the perfect accompaniment.

2nd single, "Sun & Moon" featuring Young Franco & NOÉ is set to be released on December 10th along with an announcement of the EP and pre-order. The song is a contagiously bouncy bop, with the different vocal harmonies and synth chords giving the track an almost prime 00's throwback, it's the perfect year-end anthem to keep dancing and growing through the good and bad.

The album's focus track, "About U" featuring Kamaliza will be released along with the EP release on January 28th, 2022. The song perfectly blends electronic elements within an R&B / Soul aesthetic, and is all about moving forward with intention, from the lyrics to the groove, making you feel tipsy on life.

All singles off the EP will be accompanied with custom visualizers by Perth-based design / creative firm Gesture Systems. The album's single-releases and videos will be promoted in-house via the artist's and the label's social media channels in Germany and Australia.

The 823 label represents the appreciation for the people, ideas and places that inspire and push their protagonists forward. "823 celebrates the simple beauty of everyday life and the people in it that inspire us." (Regan Matthews aka Ta-ku)

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.

From his early days in 90s collective KMD to his reinvention as a masked supervillain leading the indie hip-hop revolution, MF DOOM has consistently pushed the boundaries of hip-hop in new and unexpected directions. While DOOM's lyrical genius is well documented, he has quietly become an important figure behind the boards as well. DOOM has always produced his own music, and in the early 2000s he released the acclaimed ten-part Special Herbs instrumental series, introducing the world to the dusty, lo-fi loops that define his production aesthetic. In the years since, DOOM has supplied soundscapes for Ghostface Killah's classic Fishscale album, produced an entire album for Masta Ace, and witnessed a new generation of emcees (including Joey Bada$$, Capital STEEZ, and Bishop Nehru) using Special Herbs beats on their breakthrough mixtapes. Now, the villain is putting the spotlight back on his production with the official vinyl release of Special Blends, Vol. 1 & 2. Originally self-released in extremely limited quantities back in 2004, Special Blends Vol. 1 & 2 pairs vintage DOOM-produced Special Herbs instrumentals with classic hip-hop and R&B vocals. Mixed by DOOM himself, this collection incorporates vocals from a wide range of iconic records. Special Blends Vol. 1 & 2 is available in standard 2XLP vinyl format, as well as a deluxe version inside a custom-printed burlap bag.

Feel-good funk and hip-hop duo, The Allergies, offer up one last ray of audio sunshine from their smash hit album, Promised Land.

Featuring the unmistakable voice of Bay Area luminary, Lyrics Born, 'Going to The Party' is the ultimate celebration of good times, good friends, and good music. Throwback raps weave wickedly with infectious grooves and a sing-a-long chorus, making this the perfect soundtrack for all your get-togethers and funky affairs. And now, the limited edition vinyl release offers up an extended version, with extra house-party warming verses from L.B!

And, that's not all. As, taking B-Side Banger status on the 45 is 'Utility Man', featuring the dynamite mic prowess of L.A rap hero, Andy Cooper. Riding a super slick double bass groove and neck snapping drums, the L.A. hip-hop legend flips fearsome rap styles, pitching his case as the ultimate go-to gun-for-hire M.C.

And who are we to argue? It's two serious sides of funky rap goodness. Or, as Andy puts it, "The beats bang and the music's timeless". Indeed.

a a1: Going to the Party (Extended Mix) feat. Lyrics Born

First ever box set from one of the most thrilling bands of the Twentieth
Century.
 Deluxe 7” singles box set featuring the phenomenal original run of singles
with two bonus singles exclusive to this set. Seven 7” singles housed inside
a lift-off lid box with a booklet featuring an essay by Clinton Heylin,
reminisces from Thurston Moore, Henry Rollins, Mark Lanegan X and Dan
Stuart, rare photographs and flyers, new exclusive issue of the ‘Fire of Love’
fanzine, Ruby Records postcard and a ‘Gun’ button badge.
 If ever there was a band seemingly determined to come from nowhere and
go straight back there, it was The Gun Club. Jeffrey Lee Pierce’s search and
destroy combo was spawned by the LA punk scene in 1979. Two years later
their first LP, the incendiary ‘Fire Of Love’, was spewed out by Slash
Records, a matter of months after the punk zine Pierce wrote for, and the
label named itself after, breathed its last. ‘Fire Of Love’ was one of the 80’s
genuinely shape-shifting US debuts, igniting post-punk depth and minting
genres including blues, psychobilly and Americana.
 Jeffrey Lee Pierce was an extraordinary character. Learning to play guitar at
the age of 10, he quickly immersed himself firstly in reggae and later the
Delta Blues, particularly works by Tommy Johnson and Robert Johnson. By
1976, he had become obsessed with Blondie, going on to become President
of the West Coast Blondie Fan Club. It was Jeffrey Lee Pierce who
suggested to the band they cover ‘Hanging On The Telephone’. The Blondie
connection would later resurface in 1982 when Chris Stein signed and
produced The Gun Club for his Animal Records label. In 1996 after releasing
seven studio albums, 37-year-old Jeffrey Lee Pierce sadly passed away
following a stroke. What he left behind is a legacy of work that has had a
prolific effect on some of the most distinguished rock acts of the past 20+
years, these include Nick Cave & The Bad Seeds, Sonic Youth, The White
Stripes, Mark Lanegan, Primal Scream and The Black Keys.
 “Jeffrey was a human tornado. Yet during the most turbulent points in his life,
he was able to tap what seemed to be a limitless supply of astonishingly
beautiful music. Even now, songs like ‘Flowing’ and ‘Desire’ catch me up.
The immense power that passed through Jeffrey, like an electrical current,
informed his amazing body of work. That level of unrelenting heat and
incandescence is simply not survivable. I wouldn’t wish it on anyone.” -
Henry Rollins (April 2021)
 Six 7” singles reprinted with original artwork. Additional ‘Miami Demos’ 7”
exclusive to this box set. All singles remastered especially for these vinyl
editions.

Freestyle Records run off a gem of 45 with two tracks from their recent Bunny Scott reissue project, showcasing the early-Black Ark debut LP of Scott (aka Bunny Rugs, later of Third World).

The Blaxploitation-influenced funk track 'Kinky Fly' features members of The Chi-Lites' backing band (passing through the infamous studio whilst in Jamaica for a series of shows) - their horn section and Chinna Smith's wah-wah guitar shine through with synth overdubs adding to the mood, underpinned by the ghostly click tracks of the Conn Rhythm Unit (constituting one of Scratch's earliest experiments with drum machines). On the flip, the upbeat 'Sweet Loving Love' boasts a jaunty synthline high up in the mix and a stellar rhythm section augmenting Bunny's soulful tenor.

We Are FTR welcomes Haf to the label as the collective returns with the talented artist's Foreign Dreams EP. There's much to enjoy here starting with the powerful driving opener "Paranoia", a dark and heady affair perfectly suited to keeping things moving into the small hours. "Shamooli" follows up with intricate shuffling hats, groovy bassline and plenty of atmospheres to get lost in. The immersive and meditative cut "Urgull" stretches out over the full B-side rounding off the EP in fine style with a more laid back feel.

As the 21st century was born, so Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades.In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99).
Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains.
“During the 1990s, we were definitely experimenting with what the band were doing. But (drummer) Ventor and I decided that for this album – our first of the new millennium – we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place.”

There was also new guitarist introduced, as Sami Yli-Sirniö (who had made his reputation with Finnish band Waltari) took over from Tommy Vetterli. The latter (also known as Tommy T. Baron) had joined in 1996 and played on the 'Oucast' (1997) and 'Endorama' albums.

The producer for this album was Andy Sneap, who was now making a name for himself as one of the pre-eminent masters of this art in the modern metal world.“I had known and liked Andy since the days he had been the guitarist in Sabbat, as they were signed to Noise Records as Kreator were on that label. He was our first choice to work on this new project. I liked what he'd done for Testament on their album 'The Gathering' (released in 1999). He had given them a sound they'd never had before, and that really was what we were after. It was natural and organic, and also very modern. I remember phoning him at his Backstage Studios in England (Ripley in Derbyshire). And Warrel Dane, the vocalist in Nevermore, answered. Andy was producing their new album at the time ('Dead Heart In A Dead World', 2000). And when I heard this, again I was very impressed. So, I was delighted when he agreed to produce the new Kreator album.”

The album title came from something Petrozza had read. “In a book I came across a comment that John F. Kennedy said (in 1962). This was: "Those who make peaceful revolution impossible will make violent revolution inevitable”. I thought 'Violent Revolution' would make a good title for an album. So, I kept it in my mind for this record. I think 'Violent Revolution' is a title that makes a real impact.”

One interesting aspect of the track listing was that the 52 second instrumental 'The Patriarch' actually came after the opening song 'Reconquering The Throne'. Fans might have been expected that it would have opened the album. But for Petrozza, there was a logical reason for this not to happen. “We really wanted to lead off with a thrashing track, to show everyone what we were now doing musically. After 'Endorama', it was important that everyone should recognise this was a new era for Kreator.”

'Violent Revolution' is without question an excellent album. While in some ways it does hark back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force. Unlike so many of their peers, here was a band who still had so much creativity to offer, and were also clearly excited themselves by what they were doing. And when you hear the band themselves enjoying the entire process, then you know this is a bona fide revitalisation.

Grey Vinyl

Polymorphism Records continue their intercultural and cross-genre work with their third release E Source. Female vocals return to the label with four original tracks by Russian artist Sestrica, who brings in her characteristic emotional narrative. A remix by Konx Om Pax and
a rework by Antwood make up the crew boarding on a galactic grey/silver vinyl.

PM003 takes off with electro-to-techno beats fuelled by a mild, wrapping acid melody in Today We Meet, where the uplifting countdown to launch can be felt. Sentimental Value gets
us deeper into the spatial trip. Darker samples and a heavier bassline give extra gravity to the anthem of the journey across sonic galaxies. Floating to slow, surrounding sounds and loops we land on a calmer planet called Intention. Its tidal sensation is created by an
orchestral combination of meditative vocals and other layers of composition. New Era enters an orbit of elegant syncopation within a rotating reverb stardust. Ancestral beeps subtly acknowledge legacy to be taken forward to the next odyssey.

Musician and graphical artist Konx Om Pax from Glasgow beautifully introduces nostalgia to New Era with playful breaks and scratches, getting us back to our roots in this excursion visiting alien territoires. Sestrica’s vocals from her original track are drawn into the remix as
echoing words rendering a mysterious aura, travelling through a deep trance of diverse yet harmonic rhythms and effects. A journey within a journey.

Canadian producer Antwood’s rework of side A jumps into an epic vortex of more experimental, unexpected sounds. The album-closer builds up towards absolute chaos, to then create a vacuum to emptiness. A supermassive (tribute to black holes intended) drop
leads to the last minutes of the EP: up tempo cyber-influenced sounds that bring us to a bright futuristic landscape ironically far from a dystopian prophecy.

Purely coincidental fact: the last track of PM002’s originals being Crisis Apparition and its homologue in PM003 New Era, hope seems to be peeking through current times to send an accidental message with this first series of the label.

Mind the overuse of Space metaphors; in this year 2021 where humans are going farther and further in exploring new places out there, it is a tribute and celebration to discover new musical journeys like this out here, on Earth.

Environmental sustainability and social justice are core values of Polymorphism Records. Following their strong interest in contributing to a good cause, shown from the early days, all Bandcamp digital sales are donated to projects such as Team Trees or The Ocean Cleanup.meet f B3 E Source side A (Antwood rework)

A little info about the guys. All three of them as you'll hear are music fiends/collectors/diggers and lovers. They met whilst attending a pagan mushroom festival on the Wrekin hills and have been firm friends ever since they decided that night/morning to go on a quest to find some musical magic in the far-off lands (ye old music shoppes). They only made it as far as the cave around the corner (which happened to have a stack of records and a computer) and thus have remained there ever since much to the joy of their respective wives, cooking up some late-night cosmic melters for the enlightened to enjoy whilst at the dance.

Thus the label was born and this is their first offering to the world. With this release the Wrekin Havoc lads have pulled out all the stops with some tasteful and respectful edits of some little-known Balearic bombs, extending and editing them just enough to allow the originals to shine a little longer – the occasional flourish has been added but that's about it. No multiple plug-ins on this one.

Three Bonafide euro chuggers on A1/A2/B1 for early doors / early morning, actually anytime is a good time to play them!! The fourth and last track B2 is aimed squarely for the end of the night/sunrise/morning music if you will. The only criteria for this release, would we buy this 12” - it was a resounding yes. We hope you enjoy it also.

If anything is made from the first or future releases all proceeds will be donated to charity via Prime Direct Distribution. Stay Gold WH.

Gwendoline, is a duo-antihero of the Rennes indie scene. Sensitive loosers and jaded start-up nation greats, Micka and Pierre shape their own style, a dark shlag wave in a percussive and poetic spoken-word style, with counter discussions as their primary source of inspiration, looking at those around them. Between fatalistic lyrics, self-deprecation, sarcasm and bitterness of the world's mediocrity, their sincere cold-wave is the symbol of a disenchanted youth and the perfect soundtrack to protest.

In 2017, they recorded their first album by locking themselves up for a fortnight to compose everything in one go, feeding off their daily environment in Rennes, numerous evenings spent at the bar and the anxieties of our time. At first self-produced on Bandcamp, this album "Après c'est Gobelet!" is pressed in confidence on vinyl in June 2020 on the Spanish indie label Dead Wax Records, whose stocks run out before the end of the year and which is now unavailable in France.

At the end of 2020, Gwendoline has also seen the doors of the Trans Musicales open to her, a favourite of Jean-Louis Brossard, for a live show at the Ubu, captured by FIP & Culturebox and accompanied by Maëlan and Romain, their stage accomplices.

Written without pretension and ambition, the duo is surprised by the interest shown in the project, between their programming at the Transmusicales, and the feedback from the press including major international media (KEXP, France TV, Les Inrocks, Post Punk Magazine...).

A video clip was released in April 2021 to illustrate one of their flagship tracks, the heady and heady "Chevalier Ricard", which was also a favourite of Franck Vergeade, music editor of Les Inrockuptibles (January 2021).

Gwendoline is the project from Micka (a.k.a. Mikoune) and Pierre (a.k.a. Daniel).

Based in Rennes, musically influenced by the classic cold wave which originated in their country, precarious and aimless, they shape Gwendoline to their own image.

Pure DIY ethics, quick recordings at their home studio.

Dark lyrics, self-mockery, criticism, sarcasm derived from the world’s mediocrity.

Slam collaborate with Hector Oaks, 999999999, Keith Tucker (AKA Optic Nerve), Amelie Lens, Rebekah, AnD & Perc, for a new five part Soma Records project LOUDER THAN CHAOS.

On March 2020 the world was abruptly thrown into collective disarray. The Pandemic stopped almost everything dead in its tracks. No social gatherings, self isolation, a sense of panic and bewilderment prevailed. An industry that had become so dependent on human connection and unity, was suddenly switched off and put on pause for an unforeseeable future.

It was in this climate that The Louder Than Chaos project was born, facilitated by Soma Records head honchos and techno protagonists Slam. A collaborative project with friends, colleagues and contemporaries normally only seen at airports, or events, now brought together under a completely different set of circumstances, allowing for a purposeful connection in a time of disconnect. The focus of the project is built on a powerful mutual participation, remotely constructed over time and fully intended for holding court on peak time dance floors when they inevitably return. That time has now finally come.

The Louder Than Chaos project is a series of 5 releases, on 12 vinyl" & Digital, to be released monthly via Soma Records. Featuring collaborations between Slam & Hector Oaks, Slam & 999999999 Slam & Keith Tucker (AKA Optic Nerve), + more to follow.

Each EP features specially commissioned artwork from German based artist PPP Panic, which consolidates into one constructive piece over the 5 releases.

Slam collaborate with Hector Oaks, 999999999, Keith Tucker (AKA Optic Nerve), Amelie Lens, Rebekah, AnD & Perc, for a new five part Soma Records project LOUDER THAN CHAOS.

On March 2020 the world was abruptly thrown into collective disarray. The Pandemic stopped almost everything dead in its tracks. No social gatherings, self isolation, a sense of panic and bewilderment prevailed. An industry that had become so dependent on human connection and unity, was suddenly switched off and put on pause for an unforeseeable future.

It was in this climate that The Louder Than Chaos project was born, facilitated by Soma Records head honchos and techno protagonists Slam. A collaborative project with friends, colleagues and contemporaries normally only seen at airports, or events, now brought together under a completely different set of circumstances, allowing for a purposeful connection in a time of disconnect. The focus of the project is built on a powerful mutual participation, remotely constructed over time and fully intended for holding court on peak time dance floors when they inevitably return. That time has now finally come.

The Louder Than Chaos project is a series of 5 releases, on 12 vinyl" & Digital, to be released monthly via Soma Records. Featuring collaborations between Slam & Hector Oaks, Slam & 999999999 Slam & Keith Tucker (AKA Optic Nerve), + more to follow.

Each EP features specially commissioned artwork from German based artist PPP Panic, which consolidates into one constructive piece over the 5 releases.

Survival depends on evolution. As conditions change and tides turn, we must change with them in order to stay one step ahead of the coming challenges. It’s clear that Fit For An Autopsy have embraced that mantra as they continue to perpetually evolve with each subsequent body of work. Not just blurring, but eradicating the lines between technical metal virtuosity, death metal menace, hardcore intensity, melodic insidiousness, and abstract approaches, the New Jersey band embody an uncompromising vision of their own.

The six-piece—Joseph Badolato vocals, Patrick Sheridan guitar, Timothy Howley guitar, Will Putney [guitar], Peter Blue Spinazola [bass], and Josean Orta Martinez [drums]—perfect this approach on their sixth full-length offering, Oh What The Future Holds [Nuclear Blast Records].

Fit For An Autopsy have never stopped moving forward though. Following their caustic 2011 debut The Process of Human Extermination, the group quietly carved out a place among extreme metal’s modern vanguard with their second LP Hellbound. Revolver cited 2015’s Absolute Hope Absolute Hell among “15 Essential Deathcore Albums.” And In the wake of The Great Collapse two years later, the band had truly created their own space in the realm of what could be described as “post-deathcore”. This ascent reached another level on the 2019 opus The Sea of Tragic Beasts. Widespread praise from the fans and press alike is all but too common for their refreshing approach to modern aggressive music both on record and in concert.

When the Global Pandemic changed everyone’s tour plans, Fit For An Autopsy dove into writing in spring 2020 and made the most of their time off the road.
“We had no real timeline, so we didn’t feel much pressure,” says Putney. “Once we realized touring wasn’t opening up, we decided to have fun with the process. I got to spend more time than I usually do on records. We definitely took some of the songs into new places because of that. It’s our longest album. We composed more than we ever have and it was a rewarding feeling to put real work into all these ideas.”

In early 2021, Fit For An Autopsy congregated in-person at Putney’s Graphic Nature Audio and recorded Oh What The Future Holds. Now, they introduce the album with the single “Far From Heaven.” Swirling as a perfect storm, airy guitar cuts through a pummeling percussive groove as melodic vocals slip into a guttural groan offset by neck-snapping riffs and powerful dynamics.
“The world we exist in is clearly “far from heaven”. Institutions are exploited, and people are taken advantage of. There’s a power struggle between those in control and those who aren’t. This is a fairly literal reflection on the world today.”

In the end, Fit For An Autopsy haven’t just personally evolved on Oh What The Future Holds; they’ve brought heavy music with them.

Released on Ruf Records in 2021, Pizza Man Blues is a snapshot of the
moment those certainties were snatched away
The Blues Boy of Matthews’ 2006 debut album has been around the block, and
the genre-crossing songs he now recounts on Pizza Man Blues are written from a
place of hard- won maturity. “This last year, we’ve all had to adapt to
circumstances,” refects Matthews. “I’ve been forced off the road, but I’ve tried to
keep the engine alive, keep earning, not lose my passion. I’ve done so many jobs,
like pizza and fower delivery driver, tree surgeon assistant, volunteering for the
NHS. These songs are all about the experiences I’ve had.”The opening charge of
Mayday would make Motörhead’s Lemmy nod approval, serving a feral fuzz lick
and a speaker-ratting chorus that asks the big questions. From the bruised organ
lines of Can’t Keep Us Apart to the thrilling torn-up guitar tone and Stax-worthy
brass on Anti-Social Media, these are songs that defy genre at every turn. “I just
wanted a ‘Krissy Matthews’ vibe,” he shrugs. “This album was the result.” But as
the indelible chorus of Grateful fades – ‘You’ve got to be grateful for what you’ve
got/ even if it ain’t a whole lot’ – it’s that sentiment that resonates. “Being a
professional world touring musician, in a pandemic, with a girlfriend in another
country, during Brexit, is not ideal,” Matthews considers. “But I’ve still found lots
of things to be grateful for and I’m a very lucky man. The only way to get through
hard times is to focus on the good times…”

Next up on FT, young sound-king Nick León with an incredible 5 track EP. Miami-based León forms his massive world of sound production and design into Future Times shapes. The EP follows up releases on labels like NAAFI and Tra Tra Trax (and more) with a planet of sounds and modes, crossing back and forth into techno and his polyrhythmatic styles. The A-Side plays like a scene, all three tracks connected and growing, meshing classic synth pop hooks and serious percussion dexterity in "Blue Data" and "Scavenger Hunt", along with a stripped down pearl to start things off with in "Igneous Drums". B-Side sees the anthemic, levitating techno of "Gum Tree" and a collaboration with Miami's Greg Beto (NI UN PERO, LIES) in the tunnel-driving, splacked electro cut "Sewer System" - TIP!

The seminal follow up to 2020 debut 'In the Wake Ov Sol' sees the Massachusetts Blackened Death maestros up the ante. Creating a truly terrifying hybrid of Modern Deathcore and Symphonic Black Metal, WORM SHEPHERD's new offering also features a stellar mix and master from Cody Stewart (Machine Gun Kelly, Winds of Plague, Falling in Reverse).

The seminal follow up to 2020 debut 'In the Wake Ov Sol' sees the Massachusetts Blackened Death maestros up the ante. Creating a truly terrifying hybrid of Modern Deathcore and Symphonic Black Metal, WORM SHEPHERD's new offering also features a stellar mix and master from Cody Stewart (Machine Gun Kelly, Winds of Plague, Falling in Reverse).

“Mekons fght off the darkness with stout hearts and great songs on
Exquisite…Recorded remotely during the pandemic, the eternally enduring
post-punk crew’s latest is a fne addition to their enormous catalog…
We’re living through history; it’s a blessing to have Mekons along for the
ride
”– Rolling Stone
Hunkered down and unable to record together, in 2020 the MEKONS created a
glorious digital chain letter of an album. Exquisite is a sprawling manifesto of
connection and defance that deftly slides through fddle tunes, digi-dub, freside
ballads and urgent rock & roll. And that’s just side A.
The original recording plan was to have been the whole-band-in-a-room session in
Valencia, Spain. When the pandemic rendered that impossible the process took a
sharp swerve. The album credits describe it this way: "Exquisite was recorded in
lockdown on mobile phones, broken cassette recorders, clay tablets & other
ancient technologies in Aptos, Chicago, London, Los Angeles, New York & Devon.
"
This legendary group from Leeds, have written contemporary music history for
the last 40 years as radical innovators of both frst generation punk and insurgent
roots music, and Exquisite is another powerful vector of that legacy.

The words legendary, seminal, and classic get thrown around at will these days, but Rudimentary Peni’s debut album is all of them. Recorded over two days at Southern Studios by John Loder and originally released in 1983 by CRASS off-shoot label Corpus Christi, “Death Church” showed a band moving away from the urgency of their two early 7”s and into their own realm. Creating a template that bands have been trying to replicate ever since, while ticking all the boxes to become a genre-defining album. Iconic artwork, a unique sound and their own lyrical universe. All merging seamlessly. Sonically the album is full of Nick Blinko’s extraordinary vocals and equally remarkable guitar, Grant Matthews’ big meandering driving basslines and Jon Greville's tight and relentless drum work which together made something intricate and hard hitting, with a sequence that makes the 21 songs on the album flow perfectly. Visually, the album is every outsider art lover’s wet dream. A six-panel poster sleeve with every inch covered in Nick Blinko’s claustrophobic black and white line drawings, while lyrically the songs deal with madness, religion, death, and questioning humankind from a dark poetic place rarely found in any art form. Remastered from the original master tapes by Arthur Rizk and housed in a replica poster sleeve, including the original insert, “Death Church” is back in print in LP, CD and cassette after nearly a decade of no official reissues.